Aha, so Miles preferred Neil Young to Steve Miller....and apparently he listened to the first CSN album too.
It's interesting that several of the "classic" jazz giants saw the Dead in their early days. Dizzy Gillespie watched the Dead at the 1/14/67 Human Be-In and commented, "Who are those guys? They sure can swing." Charles Mingus watched the 6/8/67 Central Park show and talked to Phil afterwards about the crowd; but Phil said, "I was way too intimidated to ask what...
Bill said he was "totally embarrassed...I couldn't get Miles out of my ears." Garcia called it "ridiculous."
Phil agreed: "Made me feel so dumb. I thought, 'What the fuck am I doing here, why aren't I at home digesting what I just heard?'"
I don't think Miles ever met Jerry aside from their backstage chats at that run; I think he was just surprised to find that any of these rock guys were listening to him and knew the music.
Phil said that "only Jerry had the...
The addition of McLaughlin on guitar naturally brought Miles' music a bit closer to the Dead's guitar-focused music.
I like his noisier stuff too. In summer '70, he briefly had two electric keyboards in his live shows (Jarrett & Corea), and sometimes they'd get into noise freakouts that are surprisingly similar to what the Dead would do. For instance, see the Isle of Wight show (on the "Bitches Brew Live" CD), or some of the "Miles at the Fillmore" sets (from June...
It would be interesting to collect the lyrics Garcia edited out of Hunter's songs.... We don't have many examples, but there are a few.
For instance, an early verse of 'Comes a Time' that he only sang in 1971:
When the words come out like an angry stream
You hear yourself say things you could never mean
When the heat cools down and you find your mind
You got a lot of words you've got to stand behind
And a couple extra verses in 'Fire on the Mountain':
Baby's in scarlet, her shackles in...
Been listening to some Healy recordings, "Steal Your Face" and others, and just don't understand why "the boys" kept him around as long as they did. He obviously had issues with "Rockstar Bobby" and they led him to really mess up some otherwise decent recordings. Was he "the connection", or did he know something that could have brought the band down? His so called "genius" definitely wasn't worth the damage he caused.
Cliff, light into...
The next paragraph is more interesting:
"The thing is, there is a lot more intent in those lines than people might think," adds Anastasio. "It was not just noodling. Based on the number of ideas Jerry had in any one-minute period, he was very much a musician first, a guitar player second. The music was coming out, and the guitar was a vehicle, a transparent filter." Garcia has also been, for Anastasio, a historical guide. Working through Garcia's...
People don't talk about this more because Bear was wrong, wrong, wrong.
1) The poster for the Fillmore East shows says "2 shows nightly - 8 & 11:30." Bear says Graham made an exception for the Dead, and it's true all the ticket stubs available online specify 8:00. But...
2) The late shows on each night are introduced by a stage announcer. When else did an announcer come out for the 'second set'? That in itself implies a separate show/audience.
3) The early Fillmore East shows...
From Grateful Dead Gear, p.113:
"Rather than capturing the piano sound with conventional microphones in the live setting, they used special pickups designed by Carl Countryman... Bear notes, 'It was charged with a very high voltage, and thus was very cantankerous to set up and use. It had a way of crackling in humid conditions and making other rather unmusical sounds if not set up just right, but when it worked it was truly brilliant.'
Countryman's pickup control box also allowed Keith to...
I tried to go through the evidence in the "Keith's piano" thread below with all the photos I could find - initially I thought Jackson's book must be right, but this looks like one of his few errors. (And he pretty much skips Keith's keyboard setup in '76-77, one reason this whole search was necessary.) Keith made the switch from the Steinway grand in summer '77, not '78.
Jackson's book has a good 1976 picture on page 176 of Keith with a Steinway grand, a Fender Rhodes, and a smaller...
Thanks for pointing that out. So the second keyboard in the 6/8/77 picture is a Polymoog. As far as I know he didn't use that after spring '77?
Here are a couple pictures from 1975 where he's on just the Rhodes:
3/23/75 - http://images.gdao.org/view/image/ark%3A%2F38305%2Fg4dn44rm%2Fis%2F1
9/28/75 - http://images.gdao.org/view/image/ark%3A%2F38305%2Fg4959g92%2Fis%2F1
I know I've seen a couple pictures from '76 that show him on the Steinway & Rhodes (can't find them online), so I guess...
According to the GD Gear book, Keith used a Steinway grand & a Fender Rhodes in '76/77, and switched to a Yamaha electric grand in summer '78.
Hard to find good photos of Keith, but here are a few:
3/20/77 (the Steinway?)-
6/8/77 (can't see, but he has 2 keyboards) -
9/3/77 (the Yamaha?) -...
Right, Pigpen wasn't on the album at all, and a few months earlier they'd considered kicking him out of the band. He still had a big part in the live shows, though, and was perhaps the most picturesque of the band, with his hat and scowl...
Cage's techniques in that selection do sound similar to the Pranksters' practice of setting up mikes & speakers all over, recording random bits of dialogue & re-transmitting them while two sources of music played at once.
As Phil wrote: "The band was set up in one corner... Across the room was Prankster Central... The tape-loop master control was in Prankster hands; this ran a series of very long delays though a Mobius-strip speaker setup, with speakers in all corners of the room,...
There are a couple different copies of 1/8/66 that can easily be found on the Archive.
The set you linked is indeed a compilation from various acid tests through '66 - much of it non-Dead. The Archive doesn't show info files for SBD recordings anymore, unfortunately, but here it is:
This is exciting news! Always nice to get uncirculating tapes released. It's a pretty similar set to the DP30 3/28/72 release, but it's a hot show, and it's great that the bonus disc will have other unreleased songs from the run.
This is also the fourth 1972 release in two years, not that I can complain!
For a (long) review of the show, see:
http://deadessays.blogspot.com/2012/03/32672-academy-of-music.html (Spoiler alerts, I guess....)
Try using my unproven algorithm and some common sense.
What's my experience? I'm a Village Idiot! Furthermore, I can't sing, I can't dance, and I can't play any instruments. BFD! Read this posting of mine... https://archive.org/post/309958/june-9-and-amp-10-tapers-gauntlet-reveals-an-orgy-of-sound
More than anything else, GD was Jerry, and Jerry was GD. His creative interplaying and jamming with Phil (and Bobby, to a lesser extent) is legendary. When he had his voice he could sing as...
http://ia600406.us.archive.org/21/items/gd-OtherOneMix/gd-OtherOneMix.html (text notes)
http://ia600406.us.archive.org/21/items/gd-OtherOneMix/gd-OtherOneMix_vbr.mp3 (a couple audio options, for downloading or streaming)
Or for torrent fans:
Owsley said that some sound equipment was stolen at the 10/21 Vanderbilt show, which apparently caused problems recording that & the following shows. Mix issues or nonexistent SBD tapes are endemic through the late Oct/Nov '72 shows - if you check at least the other shows I mentioned, you can tell it wasn't just a problem at one show (though it's variable, since some tapes like 11/17 sound just fine).
So I believe it was some persistent equipment glitch that Owsley was trying to work...
1) Is the CD off-pitch? 2) No, it did not sound like this at the show; the PA mix was most likely more balanced. 3) The mix is Owsley's board mix. Phil is also turned up in the mix on the following night, 11/19. Owsley had trouble getting proper recordings at several shows on this tour - for instance, see 10/21 Vanderbilt for an even more Phil-heavy mix; or 10/26 Cincinnati for a near-mono mix with loud drums and quiet bass; or 11/12 Kansas City for a very screwed-up mix. 4) It's a two-track...
If any of you happen to be in Grenoble, France during the next month, a museum there is showing a selection of Garcia's art.
Some interesting samples w/ captions are shown in a slide-show here:
A wider selection is also here:...
Lemieux says they get requests for this show all the time, but can't release it since it's not in the Vault. (They're missing a lot of '78 - most of January, most of April, and the Red Rocks shows as well.)
I bet the board of this show was not circulating that early - the AUD was all that was available in early '78. Latvala was a pretty well-connected trader already and was getting shows from all over the country a few months after they were played.
This post was modified by light into ashes...
Charlie Miller has brought out a nice, previously unknown audience recording of the 1/21/71 UC Davis show. It should be up on the Archive before long. The soundboard never got leaked, except for a little bit played on the Taper's Section. It's a neat early '71 show, though short - the old deadbase setlist was apparently right, but some songs are missing from the tape.
The band is rather quiet & distant - and the audience is noisy, lots of annoying talking and clapping along. The music's...
He means the Oakland Black Panther benefit they played on 3/5/71, a lost show. I've seen other reports of that show, though, and none of them mention Weir getting into any fights. That reviewer also said the Campolindo show "was the first time Phil's father ever saw him play," which is not true; and that after Jerry stormed offstage "most of the set was performed without him," which is also not the case. Can't believe everything you read....
Not for long.... It's the Jam of the Week streaming at dead.net.
Though they mislabeled it Winterland, this is the afternoon show at Sierra College, Rocklin, opening for the Youngbloods. Less than an hour and just four songs, it seems to be the whole set. A short, sloppy, on-and-off show, this is probably one of their worst sets of spring '69, but completists may want to hear it. (I'm glad I could!)
Phil breaks a string in...
There will be a positive German review of the Hamburg '72 show posted on Dead Sources next week or so. (A negative, not very perceptive review of the Frankfurt show is already up.) I know the Paris shows got reviewed too, but the translation for that will take longer.
And you may have seen, a nice review of the Dijon 9/18/74 show was posted here on this forum a little while ago. I don't think I've found other French or German reviews from the '74 tour?
Here's part of a scathing review of...
I think at that point in June '74, there was no thought of connecting the Phil/Ned segment to the Dead's set via a jam, and that idea only arose later - but that's just a guess; Ned would know what the actual plan was, of course.
In Blair Jackson's 1990 interview with Phil, he asks about Unbroken Chain, and Phil explains why they didn't play it live in '74:
"It was meant to be performed, but there were so many changes in it, it proved to be very difficult. We had a lot of trouble even...
Those full-band sets that gradually turn into Dead jams are also my favorites.
6/23/74 is not an example, though - there's a clear break between the Phil/Ned set and the set II opening jam, in which Ned is, I think, inaudible. As he almost always was during the Dead's sets, til late in '74.
I found an actual "Nines jam" - from a March '75 studio rehearsal tape:
The jam's also known as "Orpheus," I think, and it's in 9/8 time - no real melodic theme or progression; Garcia plays a stuttering, repeated note. It goes from tracks 18-23 - Garcia starts out saying, "that's where I meant to be in relation to the nine."
David Malvinni also wrote a book a couple years ago called "Grateful Dead and the Art of Rock Improvisation," recommended for those who'd like to read technical/musicological analyses of the Dead's improvs over the years.
The Eleven was definitely an important piece for the early Dead - as a band composition, for Mickey's contribution, and for the polyrhythmic practice. Garcia sometimes talked about this - for instance, see Gans' Conversations with the Dead, p.67-68, he specifically...
Something like this has been needed for a long time, and I'm glad it's available now. It has a bunch of details & performances that were missed in the Gans interview, and it's helped immeasurably by all the extra comments from Ned.
Anything you could add from your own talks with Ned would be appreciated, of course!
It's gone from the search results and now only comes up as an error message: "The item is not available due to issues with the item's content."
This has happened to several other shows I've seen too, apparently at random. It's really annoying.
Here's another well-known example:
I haven't kept track of other examples, though. Then there...
The Archive usually takes its setlists from Deadbase, whether or not that actually matches what's on the tape.
No SBD of the 9/10/74 Phil/Ned is available, for whatever reason. But according to deadlists, the Phil/Ned set IS on the audience tape of this show. The catch is, the AUD tape is nowhere available online - it was probably never transferred to digital. A shame.
For what it's worth, the Phil/Ned from 9/11/74 is widely available!
What did Ned say to you about these shows? I know he has...
3/24/70 (thanks to a tapecut), 12/5/71, and 7/25/74 are other Dark Stars without verses.
You could also consider Dark Stars that do have verses, but sort of "sneak in" through a jam without the usual intros...like 12/15/72, 3/24/73, 12/6/73.
OK, it seemed clear to me around 18:30 of that Other One - Weir & Garcia are both playing rhythm chords in basically the same groove as early Eyes - the chords may not be the same but the feeling's very similar. That part doesn't last very long though - I guess it's debatable!
Well, 10/31/71 was the last Tighten Up jam... Whether that jam was the origin for Eyes is debatable, but it is similar; a lot of people when they hear a '69-70 Tighten Up jam figure it's an early Eyes.
It's noted in this post (which I didn't write) -
If you really want to hear a proto-Eyes jam, check out the 12/10/72 Other One, about 18 minutes in, they're clearly playing a primordial Eyes groove:...
You've probably already seen this, but Dylan's Bootleg Series vol. 11 will be released in November.
The deluxe edition is the COMPLETE Basement Tapes....as in 6 CDs, 138 tracks, including OVER TWO DOZEN SONGS never heard before, even on bootleg.
From the press release:
"The Basement Tapes Complete brings together, for the first time ever, every salvageable recording from the tapes including recently discovered early gems recorded in the "Red Room" of Dylan's home in upstate...
The cuts in Jack Straw and the Other One are patched.
They may have had an alternate SBD source for the show - the Other One continues uninterrupted where our circulating SBD was cut. Maybe the cut was only on the copy that got leaked.
The first 1:42 of Jack Straw seems to come from another show, and also the first :30 of Casey Jones.
It's also odd that the Warner copy of this show has vanished from the Archive listings, though the Lai copy's still present. I've seen that happen to other...
This post reviews the complete shows:
http://www.ta.speedingarrow.net/viewtopic.php?f=3&t=210 (remove the ; )
Ken Lee's tape is missing a couple sets, which are covered on other sources; unfortunately the late acoustic set is still incomplete.
This post was modified by light into ashes on 2014-08-04 15:55:53
Glad they included filler of some songs not represented on 11-17! A rare thing for Dave's Picks, and makes this an even better set.
It struck me as odd, though, that Dave picked the Playing from 11-15 rather than 11-18. 11-15's Playing is fine, but really tame compared to the incredible smoking fireball that they played on 11-18 - there's just no comparison. My best guess is it's because 11-15 has better recording quality. Also, the other songs on 11-18 are kind of rough, probably not...
On a technical note - it's peculiar that neither the film nor the CD are complete... The film makes it clear that the CD was heavily edited to fit within 80 minutes, missing not only the soundcheck but also quite a bit of between-song noodling, song-teasing & chatter by Garcia & the others.
Kind of a shame that we don't have the "complete" show and miss, for instance, Garcia fooling around with the Teddy Bear's Picnic tune or calling for another take of Playin': "we'll...
Well, well! I thought if they were going to do late '72 someday, they'd put out 9/28 or 10/18 before getting to this one.
I wonder if they had any alternate SBD source to patch the cuts... The cut in Jack Straw is notorious, and the Other One's also cut... But I suspect they'll just quietly patch from another show, if they do any patches.
(Trivia note: as well as being the Dead's only show in Wichita, this is one of only five shows from late '72 with no Playing in the Band.)
A joy to watch. Actually this may be a better filmed representation of '72 Dead than the Veneta movie - the setlist is a bit short but you get a close look at everybody & really feel like you're 'onstage' with them. The only audience was a few TV crewmembers.
The soundcheck wasn't filmed I guess, but there's some nice horseplay by the band in between takes. And all the false starts were funny.
The source was video, so the picture's a little blurry & wobbly (probably more noticeable on...
Dead.net has posted the info about this year's event - Thursday, July 17 at 7:30 - a listing of the theaters is here:
The film is supposed to be over 80 minutes, so it'll be more complete than the E72 CD. (Maybe it'll have the soundcheck, or more banter.)
"We have no plans to release this concert on DVD or home video of any kind, so don't miss out on what could be your only chance to see it!"
I would guess that's from earlier in the spring, like April/May. As a free park show, there might not be any record of the date.
(However, the Dead did play a free show in the Panhandle on Sunday, June 1.)
1) The earliest version with the Phil solo is in an unlabeled show from May or June '68.
2) No, there isn't. There's a link to a history of NPC deep in the thread WT linked - you'll want to check out the other versions from late '68/early '69.
True; it would just be one drummer up there til the electric set.
Not many video examples of 1970 acoustic Dead, I'm afraid; but this was a set where it was just Bill drumming:
Actually I think most (maybe all) of the 1970 acoustic sets have just one drummer. Through the year, Bill & Mickey would alternate drumming for the acoustic sets, seemingly at random. For instance, Mickey was the acoustic drummer on 4/10, 4/18, 5/15, 7/14/70 & possibly one of the July '70 Fillmore East dates - and Bill on 6/5, 7/4, 8/17 & 8/19/70...other dates have yet to be investigated.
That might cover all the times they wore the suits...
I thought I read somewhere that Garcia wasn't very comfortable wearing it - couldn't find that, but here's part of a Bob & Frankie Weir interview with Crawdaddy, August 1972. Weir was saying how a real country audience wouldn't accept the Dead as a country band...
Bob: I could go down and get a Nudie suit and they still wouldn't believe it. Garcia has one.
Frankie: He doesn't have the nerve to wear it.
Bob: I think I'll get one...
The Alligator>Caution jam has long been famous, and is basically the reason for release. It really stands out above the rest of the show.
The end of UJB is also nice, and it's cute when the Dead ask for requests after that and tease Dark Star. A lot of listeners on dead.net love the loose, small-theater atmosphere; though it's not very intense, and often pretty sloppy.
The 12/11 bonus cuts are standard performances for the time (well, this is relatively speaking, from the days when a Dark...
Though he doesn't say anything about the movie, it's nice to read a reviewer who's so familiar with the band - and even saw them in '69! (Though he fell asleep... Cool show description, nonetheless.)
Another neat recent Weir interview:
Weir also said that with two drummers it was more cumbersome to turn a corner, and with one drummer they could be more open and loose.
And he said more recently: "One time after a particularly difficult gig, Jerry told those guys it was like playing with a popcorn machine. Because they got busy and were going in different directions and stuff, and there wasn’t much rhyme or reason to it."
"It may be heresy here, but I think the band was better and tighter sans Mickey, less slop in the rhythm section."
I thought that was the common opinion around here? Lots of folks feel the same way about the solo-drummer years.
Although I'm not a fan of Bill's long '71 drum solos...
Their playing gets better from February to August....some of the Capitol run is dismal, as they adjust to Mickey's departure, but I think each month after that the shows get stronger & tighter.
While this isn't known as a period of expansive jamming, there are a couple notable exceptions - they really stretched out the Good Lovin' jams, creating a more interesting interplay with Pigpen than they did in Lovelight; and the Other One was also made a lot spacier than it had been in 1970.
I think the general opinion when the Dead opened for the Jeff Beck Group at the Fillmore East in June '68 was that Beck's band blew the Dead away. Though I hope some in the audience felt differently! At any rate Beck's music (or for that matter Janis's) would have been easier to follow than long Cautions, unknown instrumentals, feedback, etc.
The Fillmore audience in Feb '69 would have recognized almost everything in the early show (it's not like King Bee or Lovelight were obscure songs), so...
As openers, the Dead were restricted to about an hour a show....though they still had time to fit in encores (Cosmic Charlie & the mercifully short-lived Hey Jude). There are a lot of sets in the '68-70 time range when you can tell they're rushing to squeeze things in, and sometimes the shows benefit from the extra energy. Phil later said he missed being an opener & surprising people who didn't know about them.
There's a nice moment when Weir is about to tell the story of George...
It's a classic moment. Yes, they would have assumed tapers were bootleggers; Dead tape trading basically didn't exist at that point. It wasn't until around '73 that tape-trading became more widely known among Dead fans; til the mid-'70s most people had to get Dead shows via bootleg records or radio broadcasts. When Relix magazine started in '74/75 it became a lot easier to find tape traders.
Of course, you could also point to Weir's 8/6/71 comment to the tapers to move back for better sound;...
I don't know. I hope not; it's better to have another unknown Dark Star (and completely unknown show) to look forward to.
I guess playing-wise this show is about on the same level as 11/8 and 12/20/69. This was an uneven period for the Dead, with generally very laid-back playing. (In the last week of December they start getting noticeably more energetic.) But the 11/8/69 second set, and the Alligator>Caution here, are two of my favorite sets from late '69.
I'm surprised we didn't get any new & unheard material after all. Lemieux seems to be putting off his real "standout" '69 discovery for another day. Oh well, at least this will be an upgrade.
As far as missing reels, I keep hoping the rest of 2/12/69 will come out someday... That would be a treat.
Strange thing is, Lemieux was talking about how one of the rediscovered '69 shows had some great Dark Star he was anxious to release...in fact, he all but promised it for a 2014 release in the DP6 liner notes.
This show, of course, has neither a Dark Star nor any missing reels that we know of...unless our tapes were misdated?
12/11/69 does have the songs in the setlist that Lemieux mentioned - Dark Star, Dew, Eleven, Other One - although it doesn't seem to be incomplete either.
So my current...
Yikes, that's a list I would not be eager to tackle.
I remember that LL thread long ago, but don't remember that there was actually a lot of useful info in there - I think pretty much everything of note would've been included in the E72 overdubs post.
At any rate, I'm sure a list could be compiled of all the mix differences & little bits missing from the box set. That I found several missing vocals in just a short random check of a few songs/shows was distressing enough! But I would...
It is bizarre & unfortunate. (Yet on other E72 box-set shows, Keith wasn't pushed back so much.)
There are a couple other mix oddities in this show, too.
One listener wrote, "On Hundred Year Hall, in "Me & My Uncle" Weir throws in a cool little ad lib ("guess you know about it") between "high low jack and the winner take the hand" and Garcia's solo. In the box set, they have mixed out this adlib from Weir."
Also, "On Hundred Year Hall, you...
Thanks for the recommendation.
The location of the jam isn't crucial (it's just a general pattern that these unique jams come at the end)...however I have a hard time hearing a distinct theme in the part you pointed out, it initially seems like more of a loose groove.
There are other sections of this Dark Star that seem to my ears closer to being separate jams: the part from about 4:20-5:10, the part from 10:00 to 12:50 (goes through a couple cycles), and perhaps 17:00-18:15. (This Dark Star...
Good question, and there's no clear answer. I think Ned had to persuade Phil into doing the sets with him, and Phil enjoyed the 'confrontational' aspect of challenging the audience, and the other bandmembers had no objections.
Weir, however, later said that the band was losing audiences in '74 because of their "esoteric, inbred" jams no one could follow; and he was happy they tightened up the ship after that.
I got into a long discussion about that in a comment thread recently,...
Hey Light into Ashes;
If they were concerned about losing audience why did they let NED loose? The atonal stuff even with Phil and occasionally the rest of the band is some mighty rough going at times.
I prided myself on dancing thru almost every drumz and space I saw in the 80's but I am not sure how I would have handled Seastones.
Interesting take on the inner working of the Dead's music. It may have been a party for so many of us but it was also a mighty cherished and finely crafted MOTHER...
This kind of thing didn't happen in the 1972 PITBs. I think it wasn't til '74 (or late '73) that different types of jams started showing up in PITB, so that the improv would pass through varying 'movements' before the reprise.
I don't think the 11/26/72 Dark Star qualifies, I didn't hear anything in there that was really a unique separate jam - though the Feelin' Groovy is certainly sweet.
However, the very end is worth noting since Garcia starts playing this happy run that sounds like he...
Yeah, I didn't want to get into little brief jam fragments that didn't get developed.
But the 12/10/72 Other One is interesting because, when they're coming out of space, they play what is clearly a proto-Eyes jam, with Weir & Garcia both playing jazzy rhythm chords like in the early Eyes.
No plans to expand this catalog outside '72 for now.
I always liked the interpretation of "nitties" as "long flannel underwear with the flap in the back," but it seems there's not much historical evidence for that word, at least I didn't see any. I love the direct connection to '20s flapper culture here.
Those of you who were curious about where Pigpen got these phrases in Lovelight from.....the scholars have come to your rescue:
He apparently got that verse straight from Lightnin' Hopkins, a variation on old blues songs from the '20s.
One unusual trait of the Dead’s long jams in 1972 was that they would sometimes end Other Ones or Dark Stars with unique melodic sequences. Out of spacy or abstract passages, chord patterns would emerge that sounded rehearsed or familiar, but you couldn’t quite place where you’d heard them before, and generally they were never played again.
Of course this kind of jam happened in other years as well – I might just mention the 2/18/71 “Beautiful Jam” or the end-of-Dark-Star jam on...
Kidd Candelario took over taping Dead shows in fall '73, I think, and did it for the next year.
Betty was also pregnant in 1974. "Someone seemed to think that meant I didn't want to work, or I'd lost my mind; maybe just dysfunctional... They thought I didn't want to do [Winterland Oct '74] because I had just had my kid, even though I had been recording the Garcia Band gigs all along - my son Cole was three days old when he did his first Garcia Band gig."
Of course we don't know all...
I agree that what we don't know is what behavior on her part led to this ostracism. Though she said people were acting "weird" and "paranoid" & didn't want her around because she was Brent's ex, there might've been other reasons she didn't want to share.
Remember, she'd quit in '83/84, a couple years before her house troubles, probably not on good terms with the band anymore - she felt they'd ripped her off, & they didn't trust her. Approaching Jerry in the depth of...
According to Kidd Candelario, part of the Dead crew:
"That could have been purchased for a minor amount of money and it was never done... The organization knew ahead of time that Betty was in trouble and that these tapes were there. The feeling about two-track tapes at that point was that they were unimportant, that they had no value... It was an employee who really wasn't an employee anymore who was kind of down on her luck and couldn't pay for her storage anymore. I remember it came up...
I did leave a lot out of this post, intentionally. One reason was, I wanted to keep it short & relatively focused. I didn't want it to center on Garcia's addiction, or the later years, or bad behavior by the band. And I didn't want to keep piling up negative stories, though there are plenty. My goal was just to present the problems three different Dead insiders had with the band/scene in the early '70s; though the '90s outcome turned out to be a necessary epilogue. I consider this...
My issue with Scully's book was also that Dalton obviously had a large hand in it, and I think it would have been more accurate if Scully had done more of it himself. As it is it can barely be trusted as a source, since it reads like it's semi-fictionalized, with all the dialogue, etc. From reading interviews, it's clear Scully has a specific memory for things and could have written a different kind of book.
For instance, this was one online comment from him about the June '67 trip to New...
Yes, '96; if you check the deadessays site it has sources for all the quotes. Hunter's vague on the exact period, and I think his paranoia made him a bit inaccurate too, feeling like every time Garcia dropped a song it was some personal spite to Hunter. Well, you know how some writers can be!
Alas, Hunter's made clear he does not ever want to write a memoir & rake over the past. Of course, that was years ago, so maybe he'll change his mind someday... He'd do a good job.
But I don't get...
After that passage in Phil's book, he kicks himself with guilt over it: "I should have immediately called on our management to create a six-month break from touring... I too was burned out from years of nonstop touring. But I still couldn't pull the emergency cord and bring the train to a halt, knowing that even a six-month break would mean the layoff of most of our longtime employees, who depended on the band for their livelihood... We took the path of least resistance and kept...
Garcia would have called this post a "bum trip!"
A lot of their ideals ended up backfiring on them since they just didn't work out in real life....or perhaps you could say that they worked best where they originated, in a small self-contained scene, and didn't translate to the larger settings the Dead moved into.
I agree, the Dead weren't dropping Hunter's tunes just to lessen his role - it was much more a matter of just Garcia's laziness. The paranoia in itself speaks volumes,...
Hunter was a bit upset that they didn't do his bigger song suites - like, Garcia only did a fraction of Terrapin - but that was perhaps the smallest of his contentions with the Dead; he was aware that Garcia would just pick out a few things he thought were most suitable, and leave the rest, and I think he became resigned to that over the years. What upset him more was that Garcia stopped working with him hardly at all, except occasionally when Garcia felt forced to produce a song. And also, in...
Musically, the early seventies are remembered as some of the Dead’s finest years. But some of those inside the scene had a very different perspective on what was happening with the band.
Robert Hunter recalled the Europe ’72 tour:
“What I most remember about '72 was the tragedy of it. Looking back over empty years that should have brimmed with joyful greatness, I realize more and more fully how tragic it was... How much should be said? To me the '72 tour was about division. I joined...